Steven Austin
Forum Replies Created
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Forget the previous {premature} post. I figured it out. Duh. Never had to do that in 7 years using FCP7! It was simple.
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My understanding is that he wants access to all the raw data on MXF, grade on DaVinci or Resolve. In any case, I am not a colorist.
What do I need to do to make that info available to him? Literally every project I’ve worked on in FCP7 stayed in FCP7, so I’m not familiar with EDLs. Advice? Thanks!
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Oh yeah, almost forgot — Pro res 422 or HQ? I’d much rather not have to conform a lower rez offline cut if possible. It seems like a real pain in the behind, I’ve never had to do it before. Always worked with PR422 straight up.
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I plan on using:
CalDigit VR2 – Dual HDD Hardware RAID – eSATA, USB 3.0/2.0, FireWire 800 & 400 (4TB)
My tower is 1st gen quad core, FW800, 2.55ghz, 10,000 rpm raptor drive. No Thunderbolt or eSATA ports on my tower.
Is that enough horsepower to move these files around? Thanks
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I need to send it out but I am responsible for the final show delivery. Thx
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I’ll have a line cut and 5 ISOs. I just learned that it’s being recorded to a Kia Pro recorder. Don’t know what codec that generates… (No tape.)
So, do I convert the line cut to Pro Res, bring that into the timeline and put it on top of the 5 multiclipped angles? What’s the process here? I’ll be own my own, with a little input from the producer. The director is just working on show night to call shots.After I cut the show, add B-roll/graphics, I’ll need to have it mixed & color graded, QC’d & output to HD Cam. That’s all I know at this point.
Any pointers would be appreciated. Thanks.